The career of pianist Jeffrey Biegel has been marked by bold, creative achievements and highlighted by a series of firsts.

He performed the first live internet recitals in New York and Amsterdam in 1997 and 1998, enabling him to be seen and heard by a global audience. In 1999, he assembled the largest consortium of orchestras (over 25), to celebrate the millennium with a new concerto composed for him by Ellen Taaffe Zwilich. The piece, entitled 'Millennium Fantasy for Piano and Orchestra', was premiered with the Cincinnati Symphony Orchestra. In 1997, he performed the World Premiere of the restored, original 1924 manuscript of George Gershwin's 'Rhapsody in Blue' with the Boston Pops. Charles Strouse composed a new work titled 'Concerto America' for Biegel, celebrating America and honoring the heroes and events of 9-11. Biegel premiered the piece with the Boston Pops in 2002. He transcribed the first edition of Balakirev's 'Islamey Fantasy' for piano and orchestra, which he premiered with the American Symphony Orchestra in 2001, and edited and recorded the first complete set of all '25 Preludes' by Cesar Cui.

Currently, he is assembling the first global consortium for the new 'Concerto no. 3 for Piano and Orchestra' being composed for him by Lowell Liebermann for 2005-06-07. The World Premiere will take place with the Milwaukee Symphony Orchestra, conducted by Andreas Delfs on May 12-14 2006, followed by the European Premiere with the Schleswig Holstein Symphony Orchestra, conducted by Gerard Oskamp, February 6-9, 2007.

Biegel is currently on the piano faculty at the Brooklyn Conservatory of Music at Brooklyn College, at the City University of New York (CUNY) and the Graduate Center of the City University of New York (CUNY).

In the return to Brooklyn College, I noticed a difference in my teaching--as did my pupils who responded positively to it. I remember how my teacher, Adele Marcus played during lessons and was able to say exactly what needed to be done--I always wondered if I would be able to do the same, as a servant of the music, a transmitter of the traditions to the next generation. I think it finally clicked, at the age of 47! I felt the ease and flow of playing and verbalization for my students--well, most of them, and it felt, well, great! Can I keep that up for the 14 week term? Will they 'get it'? Will they improve? Do we, as teachers, always have that spark that flames the imagination of the student week after week? This being my tenth year at Brooklyn College, I have seen some amazing talents come into our midst, some achieving wonderful dreams now, and a new flock studying to make their dreams a reality. There is also a sense of nostalgia, as this will be our last year in the building before they start a new arts center in 2009-10--wow! Traditions are instilled in the cracks of the walls of the institution, but we will take those traditions into the next phase of this college as it develops. I wish everyone a splendid year of teaching, concerts, writing and everything that makes us musicians and stewards of beauty.

A brilliant icon in the world of classical music in the USA, Mr. Henry Fogel, took time to generously focus and share his thoughts regarding America's own composer, Leroy Anderson. After many years of chiming in about Anderson's Piano Concerto, I am indeed proud to see the success of the concerto and its acceptance in the concert world. Due credit must be given to Erich Kunzel, who initially sought permission to perform, record and release the concerto, which he recorded for the first time in 1992. I was present at the performance in Cincinnati the evening before the recording sessions commenced, and was immediately enchanted with the piece. Erich graciously suggested I contact the Anderson family, which has evolved into a special and endearing friendship. After performing the concerto at its birthplace, the Grant Park Music Festival, in the mid-1990s, I had eventually convinced [the late] Maestro Skitch Henderson, founder of the New York Pops, to bring it, with me, to Carnegie Hall. I've proudly carried the concerto close to my heart since then, and was thrilled to have recorded it with America's own maestro, Leonard Slatkin. Leonard is famous for promoting, recording and premiering new works, and this occasion was, for me, an event.

Leroy Anderson: An American Treasure, Unjustly NeglectedI rarely use this space to review or report on recordings, but I recently came across one that struck me as important and noteworthy in many ways. It is Naxos's Volume One of the orchestral music of Leroy Anderson. Leonard Slatkin leads energetic, committed performances of a wide range of Anderson works, and Slatkin and pianist Jeffrey Biegel team up to show us that Anderson was capable of writing a fine Piano Concerto, one that deserves to be more widely known than it currently is.But what makes this disc stand out for me is that it points out how little attention the American musical community has given to one of its own giants, just because his music fell into that uncomfortable area between "popular" and "classical." (God, how I hate those terms.) Leroy Anderson was a genius, as this disc amply demonstrates. He worked on a remarkable level of melodic inspiration, tunes pouring out of him like water out of a fountain. He wrote what we today call "pops" repertoire - much of it for Arthur Fiedler and his Boston Pops.Other countries treat their composers of lighter music with much greater respect--whether it is Johann Strauss Jr. in Austria or Hans Christian Lumbye in Denmark, to give just two examples. There is a place in the repertoire for music of a lighter nature. But we're so damned serious in our concert life, so vested in making every concert an "artistic experience at the highest level," that we've neglected one of America's true originals.Fortunately, 2008 is Anderson's centennial year, so his music is likely to get some attention. He wrote only one extended-length work, and that is the Piano Concerto heard on this disc (Naxos 8.559313, for those of you who still collect recordings, as I do). The work was premiered by the Grant Park Orchestra in Chicago, under Anderson's baton with Eugene List as soloist, in 1953. It got mixed reviews both there and in a subsequent performance in Cleveland, and Anderson withdrew it. He intended to revise it, but never did, though toward the end of his life he is reported to have found himself coming around to the piece again. After his death, his widow Eleanor Anderson decided to release it in its original form, and Jeffrey Biegel is one of its main proponents now. One wishes that the critics had been more open to this tuneful, colorful piece--perhaps Anderson would have been encouraged to write more music in larger forms.But no matter. We shouldn't fall into the trap of diminishing the importance of Anderson just because most of his pieces are three or four minutes long, tuneful, and toe-tappingly rhythmic. The one American composer in this vein whom we seem to have treated well is John Philip Sousa. Perhaps Anderson's time is finally coming. This disc shows that he is a true American treasure, and great fun to listen to.July 11, 2008 10:03 AM PermalinkComments (0)Categories:main

In 1981, I traveled to Mexico (my first airline trip!) with my high school choir. Although I graduated in 1979, I was invited to accompany the choir, which I was very close to, having many friends still in the school. The choral director asked if I would perform a recital in Mexico City's National Institute of Fine Arts (Pinacoteca Virreinal) and I did, which was followed by the choir performance. I remember the concert grand was a Petrov and the sound reverberated for quite some time--quite beautiful actually!

The altitude was an experience to get used to, for we followed our time in Mexico City with the long and winding road down to sea-level Acapulco. The old roads back then provided a movie backdrop, of beautiful mountains, towns, and the sight of Cuernevaca. We finally made it to Acapulco, and it was indeed enjoyable.

A few years ago, I became friends with the Mexican maestro, Eduardo Alvarez. He invited me to perform now with his Acapulco Philharmonica Orchestra, which he founded 10 years ago. Some amenities I took notice of include a personal mini-van with private driver, their own specialty shirts with their logo, and a very dedicated staff. During my visit so far, I managed to find where I stayed and walked 27 years ago! Not much has changed there, but the rest of Acapulco is constantly growing and building. Once a haven for movie stars and celebrities, it still has the seaside charm and attracts international travelers, although, I am here during their rainy season. It rains heavily, then passes, though I am sure the January-February period must be drier and quite blue. As for Maestro Alvarez, he is a warm and generous man and formidable musician. We are already thinking about programs for next year, with pleasure!

Two-PartLevel: Elementary and above — MEA stirring and tuneful salute to the heroes of everyday life, with original words and music by Jeffrey Biegel, this two-part choral will tap into the desire of young people to have lives charged with meaning. This is an inspirational choral useful for concert performances throughout the year. cm9081CM9081Two-Part Treble with Keyboard Part 1: C4- Eb5 — Part 2: C4-C5$1.65

"Ho Ho Hanukah! Ho Ho Christmas! "Jeffrey Biegel

Two-PartLevel: Elementary and above — EUsing the familiar Hanukah tune (Maoz Tzur, a.k.a. Rock of Ages), Jeffrey Biegel has written a clever piece that refers to the elements of both Christmas and Hanukah. The commonality of seasonal pleasures is delightfully presented in this salute to the Festival of Lights and the traditions of Christmas. cm9043CM9043Two-Part Treble with Keyboard, Optional Sleighbells Part 1: Bb3-Eb5 — Part 2: Bb3-D5

Thanks to the assistance of Rae Moses, Director for Choral Music at Carl Fischer, I am privileged to share the news with you that these two new pieces are now available in the Carl Fischer choral library:

'Ho Ho Hanukah! Ho Ho Christmas!'and'Different Kind of Hero'

They have been arranged for two-parts/piano, based on the original three-parts and SATB versions.

If you click on the link above, you can have a listen to the mp3 of each title.

Hope it brings pleasure to many choristers throughout the US and abroad.

[From left: Keith Emerson, his girlfriend Mari Kamaguchi, Jeffrey Biegel]On April 13th, 2008, Keith Emerson made a rare public appearance to be in the audience for his Piano Concerto no. 1, written in 1977. At 63, the legendary rocker still looks exuberant, youthful and spirited, and eager to get his new cd out and be part of my revival of his piano concerto. I have known Keith for several years after Daniel Dorff, the composer and director for publications at Theodore Presser, introduced Keith's concerto to me. After several years of faxes, phone calls, we finally met in San Diego in February 2008 when he attended my performance with the San Diego Symphony with Jahja Ling conducting Lowell Liebermann's Concerto no. 3. The performance of Keith's Concerto was performed with Steve Larsen conducting the Champaign-Urbana Symphony Orchestra in Illinois. They did a splendid job, and Keith introduced the concerto to the audience. His first observations were to make sure the piano would not fly and spin around, as he did when he toured with his group, Emerson, Lake and Palmer.

It is an unusual feeling as an artist to perform works by composers who attend your performances, to say the least. But I was not nervous, rather, inspired to give the man who wrote this truly fine work, a chance to experience another artist's rendering of his composition. The benchmark performance is Keith's own recording with the London Philharmonic on the ELP album, 'Works'. In the 1970s, 1980s, and perhaps into the 1990s, programming or offering a work as such would have proved fruitless, unless in an isolated situation. The piece was performed in Kentucky in 2000, and in China more recently. I plan to blanket the orchestras with this concerto, for I believe in its merits and accessibility to audiences--especially those who were raised on ELP.

Here is a story about Keith and his visit:http://www.news-gazette.com/entertainment/2008/04/13/progressive_rocker_still_exploring

Here is a review of the performance:The News-GazetteChampaign, ILApril 15, 2008

C-U Symphony, pianist sparkle in season finale

"Leroy Anderson's Piano Concerto is like everything by this great composer of light music, full of glorious tunes and wonderful twists of orchestration. Biegel clearly loves this piece and played its stormy and tender passages from the heart.

[Keith Emerson's Concerto no. 1] is refreshingly bold and saucy. Emerson is impatient with transitions, and there are many clashes of keys and moods, as well as wild endings to the first and last movements. The ghost of composer Paul Hindemith, of all people, turns up near the beginning, and the propulsive start of the finale owes something to the Khachaturian concerto.

Biegel played with his usual brilliance, and during curtain calls, Emerson loped onstage to embrace Biegel and [Steve] Larsen."

It will be a journey to take Keith Emerson's Concerto on the road, and to see who will find it attractive to program. It is a special work with its own sound, harmonic language and melodic invention. I think it's time has come.

Back in the early 1990s, my friend, Don Pippin, told me about Richard Hayman, the veteran arranger, harmonica performer and conductor. He had already been the Boston Pops arranger appointed by Arthur Fiedler after Leroy Anderson, and recorded over 50 cds for Naxos, was principal pops conductor for orchestras such as the Saint Louis Symphony, Grand Rapids Symphony and others during his long career. I knew he was getting up there in years, and as the years passed, and our schedules conflicted, it seemed less possible that we would share the stage.

Well, that changed this year--on March 15th. Our schedules coincided, and Richard invited me to perform with his Space Coast Pops in Florida. He plays golf quite regularly these days, and, at 87, he turns 88 on March 27th. That's one year for every key on the piano--well, not the Imperial Bosenforfer, as he said! I brought two works: Leroy Anderson's Concerto in C, and Gershwin's Rhapsody in Blue--the 1924 version with the original piano part, which has some 88 measures in it which had been edited out in the best known editions of the 20th century.Of course, Richard knew this piece his entire life, and also plays it on harmonica--a half-step higher than written! When I brought the solo piano score to Richard, which is indeed much larger than the tiny conductor score (Richard said, 'With such a famous piece, why can't there be a larger conductor score??!!) he decided to conduct from my solo version, which has all of the missing measures. His conductor markings are now added in my solo score, which I will cherish. I was taken with the fact that he was willing to do this version, which he had no idea existed. He liked it too.

Many of Richard's arrangements are still performed throughout the world today. But watching him conduct his own arrangements was a gift indeed. He feels the music from the inside out, and conducts it as he sways to the music, with the energy of a young man, as though the music was just off the ink press. His arrangement of 'Mack the Knife', adapted from the Kurt Weill song, is genius. He plays it on harmonica with the big band and added strings, and then breaks into the vocal like Louis Armstrong! Simply divine! This 51-piece big band is probably one of the only bands of its kind, and they were able to go from big band to Gershwin, to Anderson, to Dorsey. We surely hope Richard will grace the stages for many years to come, but truly, this icon of his generation is rare, and the audience of over 2,000 filled the Baptist Church of Merritt Island, knowing that they were in the presence of a true master of his genre. I knew it, and was in awe to be able to play these wonderful pieces with someone like Richard Hayman conducting. His humility is inspirational, as he would say, 'I'll follow you--you're the soloist, and you know what to do with these pieces'. His interpretation of the second movement of the Anderson concerto was heartfelt--reminding me of how Skitch Henderson conducted it in Carnegie Hall with me in the mid-1990s. I am indeed blessed to have worked with these legendary artists.

After concerts with Kevin Rhodes in Springfield--we've done Liebermann's 3rd (January 07) and Beethoven's Emperor (March 08), Kevin said, 'I'd love to do Prokofiev 2 with you next!' Kevin is one of the most exciting and driven musicians I have met so far. he is also a consummate accompanist. This brought back many memories, for in 1983, I studied this warhorse with Adele Marcus while a student at The Juilliard School. On my cover copy is an autograph to me from the great Byron Janis. I ended up winning the concerto competition that year and played the concerto with the late Sixten Ehrling and the Juilliard Philharmonia--my first full concerto performance. In 1985, I won the William Kapell competition in Maryland (with National Symphony in the Kennedy Center) with the same concerto, and then an Oslo competition with the Oslo Philharmonic, again, 'Prok 2' as we called it. This was immediately followed by an invitation to play it three weeks later with the Danish National Radio Symphony in Copenhagen--the ever-amazing John Nelson conducted. That was the last time I performed this colossal concerto--my staple piece. Since then, everyone asks for the 'Prok 3', 'Rach 3', 'Rach 2'. Taking out the score today was like meeting an old friend from many years ago, and the freshness of the music was overwhelming. So many of the chordal patterns and fingerings came back easily--others seemed like new territory. I can probably whisk the piece back into shape if I had to rather quickly. Having composed a good deal since then, the harmonic language seems very invigorating to me now--moreso than as a student. This is truly one of the great concerti, and I hope to have the pleasure to take it on the road many times again now.